Sta. Barbara Church and Convent

Lesser known compared to the ones on this list, the Sta. Barbara Church must not be forgotten.
It’s the only church in Iloilo with the convent still attached to the main structure.
The NHCP has also declared Sta. Barbara Church as a National Landmark. The restoration of the
church was completed just recently. The facade and the interiors all got a major facelift. It's really
nice to know that these churches are not just being left to be used and dilapidated over time.
Santa Barbara Church was built in 1845 and is of Baroque Renaissance architecture. The
whole structure imposes simplicity and beauty. Its facade is neoclassic, proven by twinned
neoclassic pilasters and finials. Beside it is the convent, which is reminiscent of Moorish
architecture.
In 1991, the National Heritage Institute declared the Santa Barbara Church
and Convent as a National Landmark. The declaration is a testimony of the
significance of the Church especially its important role in the Country’s history
as the general headquarters and military hospital of the revolutionary forces
against Spain in the Visayas during the late 1800s. The church was the site
where General Martin Delgado of the Visayan Revolutionary Government
convened the junta that raised the first Cry of Revolution against Spain
outside Luzon. Its churchyard that time was packed with Filipino soldiers,
armed with bolos and eager to fight for freedom. Framed by the outer wall of
the right side of the church and the L-shaped convent, the inner patio is one of
the most interesting parts of the church. The view of the church’s yellow
sandstone and Spanish-colonial elements of the convent, especially of its
balcony, create an ambiance of ancient living and Hispanic life. Santa Barbara
Church was built in 1845 and is of Baroque Renaissance architecture. The
whole structure imposes simplicity and beauty. Its facade is neoclassic,
proven by twinned neoclassic pilasters and finials. Beside it is the convent,
which is reminiscent of Moorish architecture. The interior of the church is
neoclassic in style. It has three altars more elaborate than the facade and an
intricately designed pulpit in the left side of the wall. Displayed at the left side
of the church is one of the old bells of Santa Barbara Church. Meanwhile,
behind the church is a tree shaded park featuring stations of the Cross and a
garden of Saints. On the outer wall of the church is a sculpture relief
illustrating the story of the Revolution in Iloilo including scenes in Santa
Barbara, Molo, and Jaro.
Santa Barbara Church
From Wikipedia, the free encyclopedia
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Not to be confused with Santa Barbara Church, Vilafranca de Bonany; Santa Barbara dei Librai,
Rome; Santa Barbara, Turin.

Santa Barbara Church

Santa Barbara Parish Church and Convent

Iglesia y Convento de Santa Bárbara

 Santa Barbara Church

Republic of the Philippines

10.827678°N 122.532075°ECoordinates:  10.827678°N

122.532075°E

Location Santa Barbara, Iloilo

Country Philippines

Denomination Roman Catholic

History

Status Parish church

Founded 1760

Founder(s) Fr. Juan Ferrer

Dedication St. Barbara

Events First Cry of Revolution against Spain outside

Luzon

Architecture

Functional status Under restoration

Heritage designation National Historical Landmark

Designated 1991

Architectural type Church building

 Specifications

Materials Bricks

Administration

Archdiocese Jaro

Province Jaro

Clergy

Archbishop Angel Lagdameo

The Santa Barbara Parish Church and Convent (Spanish: Iglesia y Convento de Santa Bárbara),

also called as Santa Barbara Church, is located in the municipality of Santa Barbara, Iloilo,
Philippines under the Archdiocese of Jaro. The church is considered to be the "Cradle of
Independence" in Panay and in the Visayas

History
In 1760, the settlement near Tigum and Aganan rivers became a pueblo and the church became an
independent parish. Saint Barbara was assigned to be the symbol of the parish which was headed
by then-parish priest Father Juan Ferrer. The construction of Augustinian church which will last up to
the present day began when Father Francisco Aguerria arrived in 1845. Construction of road
networks that will connect the parish to Cabatuan, Maasin, Janiuay, Leon, and Alimodian also
started at the same time.
The funds for the church construction would be sourced out from the taxes of the parishioners that
costs between 8 and 12 reales (between ₱1.00 and ₱1.50). Rich people can have their way out of
slavery by paying a bigger amount to the Spanish occupiers.
Under the laws of Repartamiento, males over 16 years of age shall have forced labors for 40 days
doing works on Spanish-owned farms and public works. This slavery was seen through most
religious construction projects and the Santa Barbara Church was no exception. This workforce
came from distant towns to contribute to the project. Sketches of the plans and design of the church
were drawn on the walls and columns of the church which was believed to not possess any formal
plans for its buildability.[1]
Workers labored over both the quarried stones and mulawon and mangle wood-types that both
came from the municipalities of Leon, Alimodian and Tubungan.
In 1991, the National Historical Commission of the Philippines declared Santa Barbara Church and
Convent as a National Landmark. The church was the site where General Martin Delgado of the
Visayan Revolutionary Government started the junta that resulted to the first Cry of Revolution
against the Spaniards outside Luzon.[2][3] It was also used as the general headquarters and military
hospital of the revolutionary forces.[3]
The National Museum declared Santa Barbara Church as a national cultural treasure in 2013. A
historical marker was unveiled in December 2015.[4][5]

Architecture[edit]
The overall style of the church can be viewed as neoclassical with the unembellished front facade.
Dividing the front facade plane are four sets of Tuscan pilasters. The central division contains the
main entrance while the end divisions contain two niches accommodating the Blessed
Virgin and Sacred Heart of Jesus icons.
Three stained glass windows puncture the facade of the upper level. This fenestration indicates a
choir loft located inside. The side windows are capped with crests of the Pope (on the left) and the
Augustinians (on the right). On the uppermost part of the front facade is a niche which contains a
statue of St. Barbara.[1]
The convent resembles Moorish architecture.[2]

Restoration[edit]

Original facade before restoration

Restoration on the facade

Santa Barbara Church and Convent was restored for the celebration of the Philippine Independence
Day in 2015. President Benigno Aquino III celebrated the national event in Santa Barbara, Iloilo. The
National Historic Commission of the Philippines supervised the restoration of the historic church and
convent.[2]

References[edit]
1. ^ Jump up to:a b Ducharme, Fergus.  "The Church of Sta Barbara, Santa Barbara, Iloilo, the Historic
Cradle of Independance in the Visayas". Historic Old Philippines. Retrieved  October 26,  2014.
2. ^ Jump up to:a b c Lujan, Nerio (August 1, 2013).  "Santa Barbara Church and Convent
Restoration".  Official Website of the Province of Iloilo. Province of Iloilo Government.
Retrieved October 26, 2014.
3. ^ Jump up to:a b Cordero, Zoila (January 22, 2014). "Restoration of Santa Barbara Catholic Church
& Convent".  Official Website of Santa Barbara, Iloilo. Retrieved  October 26,  2014.
4. ^ "Sta. Barbara Church nat'l cultural treasure marker unveiled". Iloilo Metropolitan Times.
Retrieved 26 December 2015.
5. ^ "Santa Barbara Church added to Iloilo's Cultural Treasures". Manila Times. Retrieved 26
December 2015.

2. Church of Sta. Barbara: History and Simplicity

3. Submitted by Mark Segador on October 31, 2011 – 9:17 pmNo Comment

4.
5. A church of great importance in our search for freedom, the Sta. Barbara Church in
Iloilo testifies to Ilonggos’ contribution in our attainment of independence. In her
beauty and uniqueness, this church also serves as a reminder of Ilonggo’s ingenuity
and admirable masonry and craftsmanship skills, at par with their colonizers in their
time.
6.
7. I arrived at the church of Sta. Barbara at around 7 in the morning, with the early mass
recently finished. Joggers, church-goers, and other early risers fill the streets surrounding the
church. Grabbing my camera, I jumped out of the car to explore this wondrous place of
worship.

8.
9. The Church of Sta Barbara, completed in 1878 after almost 30 years of construction, is made
of adobe, corals and red bricks. The architecture is chiefly Romanesque with its prominence
of arcading or use of arches supported by pillars, arched windows, and its Latin cross floor
plan. Recent additions of stained glass windows also add Romanesque characteristics in the
church. At the same time, the church also is an excellent example of Filipino baroque
colonial style. In contrast to other Iloilo churches, the Church of Sta Barbara has no belfry
flanking any of its side; rather a belfry can be seen towering at the back of the right facade of
the church. The belfry was only added in 1960s.
10. It was said that the church was constructed through mandatory or forced labor, also called
polo y servicios which was levied upon the local population. Huge stones from the mountains
at Leon, Alimodian, and Tubungan were used as its foundation, posts, and floors. These
towns are found tens of kilometers from the town of Sta. Barbara and were transported from
their quarries using carabao-driven carriages.

11.
(360 degree view of the church interior, best viewed in a new tab or page)
12. Inside the church, an aisle leading to main altar is flanked by columns of wooden pews. A
pulpit made of steel is found at the left side of the aisle facing the altar.
13.

14. The main altar is constructed using marble and is decorated by gold painted ornaments such
as flowers, roses, olive leaves, columns and Augustinian order emblems. On top is the Eye
of Providence with golden rays made probably of brass or other metal. Images of Saint
Barbara, Saint Monica and Saint Augustine are present at the altar as well. The Blessed
Sacrament is at the center of the altar and is also decorated with Augustinian emblems such
as the sun.
 15.
16. The Church of Sta Barbara served an important role in the 1898 Philippine Revolution. It was
the headquarters and military hospital of the revolutionary troops of General Martin Delgado
(who also hailed from Sta Barbara). It was also in this church where Gen. Delgado with other
Ilonggo patriots convened the Revolutionary Government of Visayas on November 1898,
months earlier than the Malolos Congress. The church and the convent were declared a
National Landmark by the National Historical Institute in 1991.
 17.
18. With its grace and grandeur, the Church of Sta Barbara is one of the better restored and
preserved churches in the province. It survived wars, earthquakes and other calamities.
These are testaments to the structure’s refined and advanced stage of building techniques at
its time.
19. Sta. Barbara Convent

20.
21. An L-shaped convent attached at the left side of the church, is also a unique feature. It is of
Spanish Moorish design, with orange-colored bricks with checkered pattern adorning the
walls of the second floor.
22.
23. Low but wide arches of bricks support the structure. Outside, the convent looks like a simple
Spanish time bahay-na-bato structure.

Miag-ao Church (Church of Saint Thomas of Villanova)

Miag-ao Church is famous for the painstakingly detailed sculptural relief on its pediment.
The church was built in 1731, and it is considered one of the oldest churches in the
Philippines. The Miag-ao church is also part of the UNESCO World Heritage List. The
style of the church is considered Baroque Romanesque. Most notable is its two different
bell towers, which served as a watchtower to defend the town against the Moro
invasion. It is a common misconception though that its massive structure was for military
purposes. The truth is, the structure is built in such a way to withstand movement and
earthquakes.

Miagao Church
was parish priest of this town and Domingo Libo-on was Gobernadorcillo.
The Church was completed in 1797. It served as fortress against Muslim raiders. In
1898, during the Revolution, the church was destroyed, subsequently rebuilt; it was
damaged by earthquake in 1948.May 16, 2014
 The Sto. Tomas de Villanueva Church, or commonly known as Miag-ao Church.

A marker states:

Miagao Church

Construction of this church began in 1787 while Fray Francisco M. Gonzales O.S.A. was
parish priest of this town and Domingo Libo-on was Gobernadorcillo. The Church was
completed in 1797. It served as fortress against Muslim raiders. In 1898, during the
Revolution, the church was destroyed, subsequently rebuilt; it was damaged by earthquake
in 1948. Restoration work began in 1960 and completed in 1962, during the term of office of
Most Rev. Dr. Jose Ma. Cuenco, D.D. Metropolitan Archbishop of Jaro, of Msgr. Fernando
S. Javillo, O.P,, Parish Priest of this town and Dioscoro Mueda, Municipal Mayor.
The church has been described as the finest example of a fortress baroque church by the
UNESCO Convention. It's one of the four baroque churches in the Philippines inscribed in
the UNESCO World Heritage Sites list.

The church is home to the Roman Catholic parish of the town of Miag-ao, Iloilo. It also
served as a bastion against Moro raiders during the olden days.
The church was completed in 1797 and is famous for the artistic sculptural relief carved on
its façade. This includes the image of St. Christopher carrying the child Christ while holding
on to a coconut tree amid the papaya and guava shrubs.

The orangish or yellowish brown color is attributed to the limestone and adobe used in the
construction. The church's foundation is 6 meters deep and its walls are 1.5 meters wide.
It's hemmed in by flying buttresses that are thrice thicker than the walls, and has twin
belfries of different designs. One is a towering two-story belfry and the other is three stories
high.

The Miag-ao Church is one of the country’s architectural gems because of its unique and
impressive design. It stands as a living legacy of Filipino culture and our way of life.
How to Get There

From Manila, you can fly to Iloilo (estimated cost of Php3,000++, round trip, one hour).

The Iloilo Airport is 30 minutes (approximately 19 km) away from Iloilo City. From Iloilo City,
you can take a “Miag-ao” or any southbound jeep from Mohon Terminal in Molo District or
from the Iloilo Terminal Market. Miag-ao Church is 30-45 minutes away from Iloilo City.
Miagao Church
From Wikipedia, the free encyclopedia

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Miagao Church

Santo Tomas de Villanueva Parish Church

Facade of Miagao Fortress Church

Miagao Church

Republic of the Philippines

10°38′31″N 122°14′08″ECoordinates:  10°38′31″N 122°14′08″E

Location Miag-ao, Iloilo

Country Philippines
Denomination Roman Catholic

History

Status Parish church

Founded 1731

Dedication St. Thomas of Villanueva

Consecrated 1581

Architecture

Functional status Active

Heritage designation UNESCO World Heritage Site

Designated 1993

Architectural type Church building

Style Baroque Romanesque

Groundbreaking 1787

Completed 1797

Specifications

Number of spires 2

Materials Adobe, Limestone, Coral, Egg

Administration

Archdiocese Jaro

Province Jaro
 Clergy

Archbishop Angel Lagdameo

Priest(s) Juan Q. Parreñas

UNESCO World Heritage Site

Official name Church of Santo Tomas de Villanueva

Part of Baroque Churches of the Philippines

Criteria Cultural: (ii)(iv)

Reference 677bis-004

Inscription 1993 (17th Session)

Extensions 2013

The Miagao Church also known as the Santo Tomas de Villanueva Parish Church is a Roman

Catholic church located in Miagao, Iloilo, Philippines. The church was declared as a UNESCO World
Heritage Site on December 11, 1993 together with San Agustin Church in Manila; Nuestra Señora
de la Asuncion Church in Santa Maria, Ilocos Sur; and San Agustin Church in Paoay, Ilocos
Norte under the collective title Baroque Churches of the Philippines, a collection of
four Baroque Spanish-era churches.[1]

History[edit]
Miagao was formerly a visita (a locality served by a visiting priest) of Oton until 1580, Tigbauan until
1592, San Joaquin until 1703 and Guimbal until 1731.[2] It became an independent parish of
the Augustinians in 1731 under the advocacy of Saint Thomas of Villanova.[1] With the establishment
of the parish, a church and convent was built on land near the sea called Ubos. Father Fernando
Camporredondo served as the town's first parish priest in 1734. When the town experienced
frequent Moro invasion in 1741 and 1754, the town moved to a more secure place. From there, a
new church was constructed in 1787 through forced labor under the supervision of Fray Francisco
Gonzales, parish priest and Spanish gobernadorcillo Domingo Libo-on.[3] It was built on the highest
point of the town to guard from invaders called Tacas. After ten years, the church was completed in
1797. It was designed with thick walls to serve as protection from invaders. It was severely damaged
during the Spanish revolution in 1898 but was later rebuilt, fire in 1910, the second World
War and earthquake in 1948.[3] The present day Miagao church is the third church built since its
establishment in 1731.[4] To preserve the church, it underwent restoration in 1960. This was
completed in 1962. It has been declared a national shrine through Presidential Decree No. 260.
Architecture[edit]
The church's over-all architectural style falls under the Baroque Romanesque architectural style.[3] Its
ochre color is due to the materials used in constructing the church: adobe, egg, coral and limestone.
[5],[4]
 The church's foundation is 6 meters deep[6] and the massive stone walls at 1.5 meters thick are
intensified through the use of 4 meter thick setback buttresses as protection to the Moro invaders as
stipulated under Royal Decree 111 of 1573 (Law of the Indies).[3]
Façade[edit]
The façade of Miagao church consists of an ornately decorated bas-relief in the middle of two huge
watchtower belfries on each side. The bas-relief is a mixed influence of Medieval Spanish, Chinese,
Muslim[3] and local traditions and elements, a unique characteristic of the church façade. A prominent
part of the façade is a coconut tree depicted as the tree of life where St. Christopher holds on. St.
Christopher is dressed in local and traditional clothing carrying the Child Jesus on his back. The rest
of the façade features the daily life of the people of Miagao during that time including native flora
(like papaya, coconut and palm tree) and fauna.[1],[7]
Above the wooden door entrance at the center of the façade just below the image of St. Christopher
is a carved image of the town's patron saint, St. Thomas of Villanueva. At each side of the door is
the images of St. Henry of Bavaria on the left and Pope Pius VI.[8],[4] Above the images of St. Henry
and Pope Pius VI is their respective coat-of-arms.

Pediment featuring St. Christopher carrying Child Jesus on his back

 


Image of St. Thomas of Villanueva

 

Image of St. Henry of Bavaria

 


 Façade of Miagao Church
Belltower[edit]
The two huge unequal belltowers [1] directly attached to the main churchserve as watchtowers to
defend the town against invasion of Moros. It has two different designs since it was commissioned
by two different priests.[4] On the left side is the older belfry, the tallest west belfry with four levels.
Originally, the east belfry was constructed only with two levels. It was in 1830 when Father Francisco
Perez decided to add another story to the east belfry. Until now, the east belfry (three levels) is one
level shorter that the west belfry (four levels).[4]
The original late 1790s images of St. Tomas of Villanova can also be found enclosed in a glass case
in the rear side of the church.

References[edit]
1. ^ Jump up to:        "Baroque Churches of the Philippines". Retrieved June 25, 2014.
a b c d

2. ^ "Miag-ao Church". Retrieved  June 26,  2014.

3. ^ Jump up to:          "Miag-ao church is an architectural treasure of Iloilo". July 21, 2011. Retrieved June
a b c d e

26,  2014.
4. ^ Jump up to:a b c d e "A UNESCO World Heritage Site, Miagao's Church of St Thomas of Villanueva".
Retrieved June 26, 2014.
5. ^ "7 Must-See Churches in Iloilo". March 25, 2013. Retrieved  June 26,  2014.
6. ^ "The Baroque Fortress Church of Iloilo: Miag-ao". Retrieved June 26, 2014.
7. ^ "Miagao Church". Official Website of the Municipality of Miagao. Archived from the original  on
November 23, 2015. Retrieved  June 26,  2014.
8. ^ "The Historical Miagao Church in Iloilo". August 1, 2013. Retrieved June 26, 2014.

9. The Church of Saint Thomas of Villanova, commonly known as

the Miagao Church, is the Roman Catholic parish church of the town
of Miagao in Iloilo Province. Completed in 1797, the church is famous
for the artistic sculptural relief carved on its facade. In 1993, the church
was designated as one best examples of the Baroque Churches of
the Philippines and included in the list of World Heritage Sites by
UNESCO.

10. The Miagao Church stands as a living legacy of the culture and
way of life of the people of Miagao centuries ago, anchored in a strong
foundation of Christian faith. As most travelers would agree, the Miagao
Church is one of the country’s architectural gems because of its unique
and imposing designs, ornaments and motifs.

11. How To Get There

 12. The Miagao Church is 30 to 45 minutes away from Iloilo City.
Commuters can take a “Miagao” or any south-bound jeepney from
Mohon Terminal in Molo District or from the Iloilo Terminal Market
in Iloilo City Proper. For more information about how to get to Miagao,
visit our Iloilo Transportation Guide.

13. More about Molo Church

14. The artistic facade of the Miagao Church is decorated with a relief
sculpture of St. Christopher carrying the Christ child amidst coconut,
papaya and guava shrubs. Like any other foreign influences, the
architecture of many colonial churches has undergone the process of
indigenization. This process is carried out by incorporating the prevailing
Hispano-American and Medieval Spanish architecture with local as well
as Muslim and Chinese touches. Thus, the synthesized topology which
is anachronistic with the unmindful sues of decorative elements. It had
no distinction in terms of periods or orders. A truly ‘Philippine Church’, it
exudes a native touch.

15. A large stone image of St. Thomas of Villanueva, parish patron

saint, dominates the center. Carved life-size statues of the Pope and St.
Henry with their coat-of-arms above them flank the main entrance.
Supporting the facade are the twin belfries, one towering two-storeys
and the other three-storeys high. The church’s simple interior is
nevertheless highlighted by a striking gold-plated retablo.

Nelly Garden (Lopez Mansion)

Nelly's Garden Iloilo City
Nelly Garden, owned by the Lopez Clan, is one of the famous landmarks in
Jaro, Iloilo City. Nelly’s Garden features a beautiful expansive landscaped
lawn with a massive art deco style American-colonial heritage house as its
backdrop.

A travel agency manages tours of Nelly Garden if you want to see what’s
inside the house. Their office is located inside the compound. Prior notice is
encouraged by the management.

How to Get There

Nelly Garden is located along E. Lopes Street, Jaro, Iloilo City. It is can be
easily reached by taxi and jeepney. If you are commuting, ride a Jaro CPU or
Jaro Liko and tell the driver to drop you off at “Nelly Garden.”

Lopez Heritage House

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 This article needs additional citations for verification. (June 2017)
Some of this article's listed sources may not be reliable. (June 2017)

Façade of the Lopez Heritage House (Mansion de Lopez)

The Lopez Heritage House or Mansion de Lopez (or otherwise known as the Nelly's Gardens) is

a national heritage house built in 1928 located at Jaro, Iloilo by an Ilonggo statesman Don Vicente
Lopez and his wife, Doña Elena Hofileña. The mansion was named after the couple's eldest
daughter, Nelly Lopez y Hofileña.[1] Due to its grandiose architecture highlighting the province's
aristocratic past, it is regaled[by whom?] as the Queen of Heritage Houses in Iloilo.[citation needed]In March 28,
2004, it was declared as a National Historical Landmark by the National Historical Institute.
The house and its 4 hectares (9.9 acres) property are open for public tours and events.

History[edit]
Vicente Lopez used to live near the Jaro Cathedral with his wife, Elena Hofilena, but the constant
sound of the cannons fired during religious activities during those times eventually led to the family's
decision to transfer their home to a more peaceful location.[citation needed] They eventually settled
approximately one kilometer from the town center. The construction of the mansion was finished by
1928, and the couple decided to name the house in honor of their eldest daughter.[2]
During the World War II in the Philippines, the mansion was very nearly burned down to the ground
by Filipino guerrillas commandeered by an Ilonggo general[specify] to raze every mansion in the
province so to prevent it from serving as the headquarters for the invading Japanese soldiers. The-
then occupants Lilia Lopez-Jison (3rd child of Don Vicente and Dona Elena) and her husband
begged the guerillas to spare the house. Just as kerosene is poured around the place, a squad of
Japanese soldiers came and a heavy gunfight ensued. By the end of the war, the house survived in
one piece.
In its lifetime, the house served as a venue for receptions and meetings with Governor-Generals of
the Philippines including Frank Murphy and Teddy Roosevelt Jr., Thailand's Prince Chupra, Former
First Lady Imelda Marcos and late president Cory Aquino.
Due to its cultural and architectural prominence, the National Historical Institute placed a historical
marker on it, declaring it to be a National Heritage House on March 28, 2004.[3]

Architecture[edit]
The house is in Beaux-Arts style influenced by Western aesthetics. evident on its facade. It is
designed to portray the extravagant lifestyle of Iloilo's most affluent families during the American
colonial era in the Philippines. Profusely adorned with ornately carved columns and pilasters, the
house is constructed to look imposing outside just as it does inside. Two set of wooden stairs lead to
the family cavernous common room where most of the furniture and paintings are placed. Even the
poster beds in its rooms at the second floor are carefully preserved for public viewing. High up in the
ceiling are crystal chandeliers that give off a soft, warm glow, illuminated the wooden brandishing
that serves as an elaborate divider to each room.[4]
In the centerpiece of the dining room is a hexagonal table which can sit up to twenty-four guests. A
huge chandelier hangs from the ceiling which is fifteen-feet high. The door-length windows allows
the light to get inside the room, creating a bright atmosphere as the guests dine together.[5]

References[edit]
1. ^ Segador, Mark. "The Nelly Gardens: Iloilo's QUEEN of Heritage
Houses". www.iloiloilove.com. Retrieved  2014-10-14.
2. ^ Segador, Mark. "The Nelly Gardens: Iloilo's QUEEN of Heritage
Houses". www.iloiloilove.com. Retrieved  2014-10-14.
3. ^ "Lopez Ancestral House". National Registry of Historic Sites and Structures in the
Philippines. Retrieved  2014-10-14.
4. ^ Caulin, Valerie.  "The Grandiose Nelly Garden". Retrieved  2014-10-14.
5. ^ "Iloilo City | Must Visit Ancestral and Heritage Houses in the City of
Love". http://www.travelingmorion.com/. Retrieved 2014-10-14. External link in |website= (he

loilo’s Magnificent Nelly Garden

by  Kaye Valdez  on August 20, 2014
Photo by Constantine Agustin

Nelly Garden (also known as the Lopez Mansion) is a 5 hectare estate which is one of the most
important structures in Iloilo. It was built in 1928, by Don Vicente Lopez and his wife Donya Elena
Hofilena. It was named after their eldest daughter, Nelly.

Before its construction, Don Vicente and his wife used to live near the Jaro Cathedral where there
are numerous religious activities that leads in constant noise. Due to this, they transferred to a
much quieter place and it is the spot where Nelly Garden is located.

As a heritage site, it became a landmark in Iloilo that represents the former grandeur, the
aristocracy and elegance of the old Iloilo society. Very important people from the alta de
sociedad  or high society, socialized, dined and partied here in a luxurious fashion.

Presently, Nelly Garden is a popular tourist destination in Iloilo, it is where inspirations and dreams
collide. The beautifully preserved mansion is publicly open for tours and events.
NELLY GARDEN: QUEEN OF MANSIONS
Iloilo
//October 19, 2015
Undoubtedly Iloilo’s Queen of Heritage Houses, the Nelly Garden gained an iconic
status representing the old grandeur of the city. Within its elegant halls, important
personalities dined on sumptuous feasts and danced in grand balls. Its imposing
architectural design has inspired the imagination of many Ilonggos and visitors alike
for generations. A walk through its halls and gardens, and you’d certainly feel the
luxury, the class and the pedigrees that were once present in this imposing Ilonggo
mansion.
Built in 1928, the Beaux Art mansion was the conception of the Ilonggo philanthropist and
statesman Don Vicente Lopez and his wife Doña Elena Hofileña. Before the construction of
the stately mansion, the couple used to live near the Jaro Cathedral. Numerous religious
activities, often requiring the use of small cannons resulting in constant noise, led to the
couple’s decision to transfer to a much quieter location. The new home of the Lopezes is
situated in a four-hectare property, a kilometer from Jaro’s center. It was spacious enough
for Doña Elena to indulge her passion for flowers and gardening. The mansion was named
after Don Vicente’s eldest daughter, Nelly.
The rooms of the house speak of “elegance, refinement, and the lifestyle of the Ilonggo
aristocracy”. The dining room, sala and other venues for entertainment are all found at the
ground floor, while the private rooms and the family sala are on the second level.
Connecting the two floors is a spectacular winding stairway of rare tindalo wood.
The sala, in all its grandeur, speaks of Don Vicente’s love for people – the exchange of
ideas and conversation. In this hall, ambassadors, politicians, the royalty, the elite and the
beautiful waltzed, danced and dined. Important guests of the house include American
Governor Generals from Frank Murphy to Teddy Roosevelt Jr., Prince Chupra of Thailand,
and many Philippine presidents including Corazon Aquino, who happened to sleep at a
room where Imelda Marcos also stayed.
The dining room is equally lavished with its centerpiece of a hexagonal table which can sit
up to twenty-four guests. The room’s ceiling is almost fifteen feet high from which hangs the
huge crystal chandelier immediately commanding everyone’s attention. The room is
colorfully lit in during the day as the light strikes the colored glass panels.

The 1928 Beaux Arts Mansion called Nelly Garden

Don Vicente Lopez
×Today, Nelly Garden is a venue for inspirations and dreams. The lovingly preserved-
heritage mansion is now open for the general public for tours and events. For
ordinary Ilonggos, Nelly Garden is now a historical and cultural landmark which
embodies the vibrant culture of Iloilo in the past and into the future.

The study of history is important because it allows one to make more sense of the current
world. ... More broadly, history enables us to understand different cultures. If those are not
good reasons for studying history, one can study history because it allows one to exercise
their critical thinking skills.
Studying history allows us to gain valuable perspectives on the problems of our
modern society. Many problems, features, and characteristics of modern Philippine society
can be traced back to historical questions on our colonial past, as well as our pre-colonial
culture. Our export-oriented economy, for example, can be traced back to the ending of the
galleon trade and the subsequent liberalization and tying of the country to the world
market, coupled with the lack of industrial advancement in the islands. This and other
lessons can be uncovered by digging deep into the country’s past.

This also applies to other countries’ histories, and while studying the past may not actually
present a solution to current problems or directly answer questions, they lend new and
alternative perspectives to current situations and allow us to further understand current
problems.

History as a discipline allows us to see beyond textbooks and see the past through
new lenses. There were times in the Spanish colonial period where the clergy and religious
orders assigned to the country were the ones causing misery to the Filipinos, while there are
times when the Church truly cared for the natives and the government was the one doing
the people harm. This is an interesting part of our history that sadly reaches the textbooks in
a boring, oversimplified version that says all the Spanish were bad. If we cling to what the
textbooks tell us then we will already have a wrong understanding of Philippine history. The
study of history allows us to see beyond the standard textbook and to the primary source
itself, interpreted into new and alternative viewpoints.

Philippine history is in and of itself very interesting. Philippine history is a unique

narrative of colonialism, reaction, and revolution. It is also a culturally diverse country from
precolonial times. There’s an emerging trend to study the social history of the country (i.e.
more on the day-to-day experience of the Filipinos during certain periods) and uncover
more stories beyond the usual stories taught in schools across the country. The country’s
experience of colonialism, the rise of nationalistic feelings, and the people’s subsequent
reaction may allow us to gain more perspectives on nationalism and revolutions.
Studying history allows us to gain valuable perspectives on the problems of our modern
society. Many problems, features, and characteristics of modern Philippine society can be
traced back to historical questions on our colonial past, as well as our pre-colonial culture.

What are Primary Sources?

Primary sources are usually defined as first hand information or data that is generated by witnesses or participants in
past events.  Primary sources are characterized not by their format but rather by the information they convey and
their relationship to the research question.  They include letters, diaries, journals, newspapers, photographs, and
other immediate accounts. The interpretation and evaluation of these sources becomes the basis for research.
These materials are often located in the Special Collections of a library, rather than in the general collection. On this
page, you will find some primary sources available to you at the UMD Libraries about Filipino Americans in the
Greater Washington, DC, area and the history of the Philippines.
To learn more about primary sources, including how to cite sources, visit the tutorial, Research Using Primary
Sources.
Image Citation: Mariano Peji and Filipino sailors at the U.S. Naval Academy posed in basketball uniforms circa 1926.
Donated by Nila Toribio Straka. Available in the UMD Libraries Digital Collections as part of the Filipino American
Community Archives. 

Archives & Manuscripts at the UMD Libraries

Archives and Manuscripts

Archives and manuscripts include unpublished diaries, correspondence, financial records, and other
materials "created or received by a person, family, or organization, public or private, in the conduct of
their affairs." (SAA glossary).  Below is a list of materials related to Philippine and Filipino American
history and heritage at the UMD Libraries.

 Filipino American Community Archives

The Filipino American Community Archives documents Filipino American communities in the Washington,
D.C., Metro area (including Maryland and Northern Virginia) and in the state of Maryland more broadly. The
collection also documents significant historic events related to the transition of U.S. occupation of the
Philippines (1900-1947) to the country's independence, including Filipino military and government service
under the U.S. in the two World Wars. Included are evidences of historic special events such as dances,
celebrations and receptions, and social/professional clubs of D.C. area Filipinos

 Baltimore News American Photograph Collection

The Baltimore News American was an active daily newspaper that existed in various forms for over 200
years. The last issue was printed on May 27, 1986. The University of Maryland Libraries has custody of the
newspaper's collection of over 1.5 million photographic images, dating roughly from 1906 to 1986. The
collection encompasses images of all aspects of the human experience - people, places, and events from
Baltimore to the world. There are many images in the collection of the Philippines during and after World
War II. There is also a picture from 1971 of the Katipunan Filipino American Association and there are likely
photographs of individual Filipinos and Filipino Americans.

 Eleanor Davies Tydings Ditzen Papers

Eleanor Tydings Ditzen was the daughter of Ambassador Joseph E. Davies, the step-daughter of Marjorie
Merriweather Post, the wife of U. S. Senator Millard Tydings, and the mother of U. S. Senator Joseph E.
 Tydings. The collection includes Millard Tydings's diary of his 1946 trip to the Philippines as well as some
other travel information.

 Millard E. Tydings Papers

Millard E. Tydings was a Maryland politician who served in the U.S. House and Senate. Series 4 of his
papers includes reports, awards, pamphlets, plans for Philippine rehabilitation and development, and
correspondence generated by Tydings in his years of service on the Commission on Territories and Insular
Affairs. It also includes records and news clippings from his three trips to the Philippines (1934, 1945, 1946),
the last of which was on the occasion of Philippine Independence Day.

 George C. Wilson Collection

George C. Wilson (d.2001) was a music educator, band director, Director and Vice-President of the National
Music Camp at Interlochen, Michigan. In 1973 he assisted Imelda Marcos with the development and
planning of the Philippine Center of the Arts, which would later open in 1976.

 UMD University Archives

The University Archives captures the day-to-day functioning of a highly complex research institution in all its
many facets: administration, academics, athletics, the arts, and other student activities. Information about
Filipino Americans who have attended and worked at the university may be found in sources such as
yearbooks, student publications, directories, and other resources. In particular, the University Publications
collection contains materials documenting the Filipino American Cultural Association (UPUB S34 F1)
including flyers, brochures, a few newsletters, and one program for a cultural event.

Primary Sources at Other Institutions in Maryland and the DC Area

 Library of Congress - Asian-American Pacific Islander (AAPI) Collection

Selected holdings from the Asian American Division at the Library of Congress.

 Library of Congress - Juanita Tomayo Lott Collection (1939-2011)

Author, analyst, demographer, and statistician. Lott’s career spanned the nonprofit and private sectors at the
National Academy of Sciences and Tamayo Lott Associates along with a federal career. She served at the
United States Department of Health, Education, and Welfare, the United States Commission on Civil Rights,
and the United States Census Bureau. The collection includes audio-visual materials, meeting notes,
newspaper clippings, pamphlets, photographs, publications, reports, research, subject files, transparencies,
and manuscripts about demographic changes, racial classification, the Asian American and Pacific Islander
communities, multicultural curriculum, and the status of women.

 Library of Congress - The Clemente C. Cacas and Leo C. Toribio Family Archives (1939-2011)

Contact the Prints and Photographs Division for more information.

 National Archives - Philippine Archives Collection

The Philippine Archives Collection constitutes an invaluable source of information on the Pacific war during
World War II, particularly concerning the treatment of prisoners of war (POWs); military operations in the
Philippines, 1941-1942; guerrilla warfare in the Philippines; and conditions in the Philippines under
Japanese occupation.
Primary Sources at Other Institutions Outside Maryland and the D.C. Metro Area

 Filipino American National Historical Society (FANHS)

Founded in 1982, the Filipino American National Historical Society (FANHS) documents and promotes
Filipino American history through its archives, conferences, books, programs, films, art and more.

Primary Sources
Primary sources are those that were produced or recorded in the era which you are
researching. These generally include: diaries or personal journals, letters or telegrams,
books or autobiographies written by contemporary figures (people who lived in that era),
court transcripts or police records, newspaper or magazine articles, government
documents such as law codes or transcripts of parliamentary proceedings, recorded
speeches, interviews or their transcripts, laboratory notes, ships’ logs, inscriptions,
photographs, etc. Other, less conventional primary sources can include: folk tales, oral
histories or legends, works of art, song lyrics, etc. The university’s library has a wide
variety of primary source material for your consideration, and much of it, including
copies of newspapers and magazines dating back to the 18th century, is available on
microfilm and microfiche. Do not let unfamiliarity with the library’s microfilm- and
microfiche reading machines get in your way! Periodicals on film are often invaluable
sources of information about the past, and the library’s staff will be pleased to help you
examine the extensive collection of reels in the university’s holdings. Examining older
periodicals can be very enjoyable, and if you find a valuable article, it can even be
photocopied by the film-reading machine for your convenience. Be sure to note all of the
publication information, such as date, issue, volume, etc, before returning the reel.
Primary sources are historians’ windows on the past, enabling them to discover what
people were doing, planning, or discussing at a particular time. By examining such
sources in a larger context, such as an historical investigation into a particular event or
societal trend, they can provide valuable clues. Of course, while a private diary might
reveal a hidden opinion or unknown event, an autobiography might also attempt to alter
the historical record in the author’s interest. The researcher must be careful when
approaching sources written by those figures who were close to the events they are
describing. Their memories may be fuzzy, and they might even exaggerate or
deemphasize particular details. Consider this, if you were writing an autobiography of
your own life, would you describe in detail all of your most embarrassing moments or
faults? Well, the tendency for major figures from the past, such as revolutionary leaders
or politicians, to gloss over their less successful ventures when writing about their own
lives may be even greater. Similarly, they might choose to portray their contemporary
rivals in a less than flattering light. Be aware of an author’s possible interests in
discussing or avoiding certain subjects. Sometimes the authors of primary sources were
professional historians, but more often they were not.
Government documents are an example of primary sources that may provide highly
specific information such as legislative text or statistical figures, but may not provide a
very broad overall context. It is therefore up to the researcher to determine the
relevancy or the validity of the details they provide. Considering the nature of the era in
which the documents were produced, and the audience for whom they were written, can
help to evaluate their usefulness. Similarly, newspaper reports and articles are often
greatly influenced by the political atmosphere in which they are written. The information,
and especially the analyses that they provide must be weighed carefully with less
editorial or opinionated sources. Unlike historians, journalists generally produce reports
about current events, and do not have the benefit of hindsight to help them draw their
conclusions about the present. Thirty years after a story appears in the newspaper, new
information will often have come to light, and the article’s contemporary assumptions
may appear incorrect – or even ridiculous. It is important to remember that earlier
authors may not have had access to as many sources – or as many sides of the story,
as yourself.
Another type of primary source is the novel, which is often mistakenly dismissed by
students because “it's fiction -- it's not about anything that really happened.” Novels, like
political tracts, can also engage in contemporary debates. The novel can tell us about
its author's concerns and assumptions, and the kinds of issues that preoccupied writers
in a particular era. Of course, we must also beware not to believe that everything the
novel says is “true,” and we must not forget that the author has made specific decisions
about how to portray the characters. Therefore, we must be careful not to confuse what
the novel’s narrator or characters say with what the author was actually thinking. The
author may have chosen to create characters with radically different opinions than him
or herself.

History: Primary & Secondary Sources

What is a Primary Source
Primary sources include documents or artifacts created by a witness to or participant in an event.  They can be
firsthand testimony or evidence created during the time period that you are studying.
Primary sources may include diaries, letters, interviews, oral histories, photographs, newspaper articles,
government documents, poems, novels, plays, and music.  The collection and analysis of primary sources is central
to historical research.
Note about primary sources: While there are many digital primary resources available, it is very important to
remember that the majority of primary sources have not yet been digitized.

 The Books link in the navigation bar at the left provides information for locating primary sources via UW
Libraries Search
 Under the Primary & Secondary Sources link in the navigation bar your find several options for locating
these types of resources. 

 Using primary sources on the Web

 Examples of Primary Sources
 Published Compilations
 Advertisements
 Maps

 At Home in Nineteenth-Century America: A

Documentary History

Available in print and online

UW Tacoma Library Stacks
E161 .A8 2015
 Compilation that draws upon "advice manuals, architectural designs, personal accounts, popular fiction, advertising
images, and reform literature to revisit the variety of places Americans called home."

 Voices of the Enslaved in Nineteenth-Century Cuba

Available online

A major essay [by the author] introduces the work and the second part of the book features eighty previously
unpublished primary documents [in translation] to illustrate the experiences of Cuba's African slaves.

What is a Secondary Source

Secondary sources analyze a scholarly question and often use primary sources as evidence.
Secondary sources include books and articles about a topic.  They may include lists of sources, i.e. bibliographies,
that may lead you to other primary or secondary sources.
Databases help you identify articles in scholarly journals or books on a particular topic.

 The Articles link in the navigation bar at the left provides links to databases that will lead you to secondary
sources (primarily articles).
 The Books link in the navigation bar at the left provides information for locating secondary sources via UW
Libraries Search.

Examples of Secondary Sources

 Books
 Scholarly Articles
 Dissertations
 500 Years of Chicana Women's History (500

Años de la Mujer Chicana)

UW Tacoma Library Stacks

E184 .M5 M375 2008

500 Years of Chicana Women's History offers a powerful antidote to the absence of Chicana history in U.S. history
books. This book is a vivid, pictorial account of struggle and survival, resilience and achievement, discrimination and
identity.
 Material Culture of Breweries

UW Tacoma Library Stacks

TP573 .U6 R764 2011

From antique bottles to closely guarded recipes and treasured historic architecture, breweries have a special place in
American history. This fascinating book brings the material culture of breweries in the United States to life, from many
regions of the country and from early 16th century production to today's industrial operations.

Why Use Secondary Sources?

It is important to locate, read and refer to secondary sources in your writing.
Secondary sources:

 provide vital background information. Having as much knowledge as possible

about the text or event about which you are researching is crucial. Familiarising
yourself with what has been written about your topic will allow you to write more
knowledgeably,
 inform you as to what others have said so you can avoid repeating ideas that are
already out there,
  can be used to support your ideas or to show an alternative view. You can create
an argument that shows all points of view.

What are Secondary Sources?

Secondary sources describe, analyse, interpret or draw conclusions from a primary
source. Secondary sources are created after the studied event/work took place or the
studied work was created. They can therefore take into consideration other events and
place a primary source in its historical context. Secondary sources are not evidence but
rather commentary on and discussion of evidence.
Scholars generally use the term secondary source to refer to books, sections of edited
books, journal articles, encylopedia and dictionary entries, newspaper and magazine
reports and so on. This chart shows the distinction between primary and secondary
sources:

  Primary Secondary Source

Source

History Bayeux Book titled: The Battle of Hastings : sources and interpretations

Tapestry

Anthropolog Field notes Article in Journal of African cultural studies

y

Literature Jane Austen Book title: Jane Austen's Literary Manuscripts: A Study of the Novelist's de
novel the surviving papers

Politics Political cartoon Book titled: Philippine cartoons : political caricature of the American era,

Note that science disciplines may define secondary sources differently. This guide
addresses the Social Sciences and Humanities definition.

Evaluating Secondary Sources

 Evaluation of sources is essential to scholarly research. Consider the following when
looking for reliable secondary sources:

 Who is the author? Are they a scholar in the field?

 Was the book/ journal published by a scholarly publisher?
 What is the purpose of the text or motive for writing it?
 Does the writer have an obvious bias?
  Does the book/ article have an extensive bibliography?
 What are the primary sources referred to by the author?
 What secondary sources are used by the author?
 Does the text have citations enabling you to check the author's sources.


For a historical research project, secondary sources are generally scholarly books

and articles. A secondary source interprets and analyzes primary sources.
These sources are one or more steps removed from the event. Secondary
sources may contain pictures, quotes or graphics of primary sources.Sep 24, 2019

Secondary Sources
Secondary sources are those written about the past from the point of view of a future
date. Typically they are produced by authors who have examined a variety of primary
sources dating to a previous era or eras while conducting an investigation into an
historical topic. Secondary sources generally take the form of monographs (books
written by an author or authors on a particular subject), composite works or
compendiums written by a series of authors about a subject or subjects, and articles in
academic journals. After sifting through a good deal of evidence such as
autobiographies, speeches, government records, etc, the authors of secondary sources
are then able to draw a series of broader conclusions about particular historical
subjects. For example, the individuals involved in a large event, such as a World War,
were typically participants in only a small part of the action – but the author of a
secondary source can combine the writings or recollections of several dozen
participants to form a larger picture of the nature of the conflict. Through such a
composite analysis, conclusions might be drawn about the impact of the war on
anything from world oil prices to the role of women in wartime production, depending
upon the sources consulted and the author’s angle of inquiry.
It should be noted, however, that not all the authors of secondary works on historical
subjects are professional historians. Many such works are also produced by journalists,
biographers, investigative reporters, and even authors of fiction who have opted to write
nonfiction works. The sources produced by these kinds of authors can range in
character from broad, general accounts to highly specified or technical investigations.
Often they are reflective of a popular approach to the past that readers from many walks
of life, young or old, find enjoyable to read. Sometimes these authors have digested the
works of professional historians and have proceeded to write an account of the same
subject that is more approachable for people with a casual or passing interest. Be
aware of the types of secondary sources that you consult. Biographical details about
their authors are often available, and they will help you to determine how popular or how
scholarly a particular source may be. Virtually anything published by a university press
will have gone through a peer-review process – an examination by a series of scholars
in similar fields – and will likely be a good academic source. Online book reviews can
also be of value.
It is also important to distinguish between an author who is summarizing other people's
views, and an author's who is expressing his or her own views. For example, if a
passage in a secondary work read “Eighteenth century anatomical writing was
profoundly misogynistic. Women were not only physically but also mentally inferior to
men,” then it would be inaccurate to paraphrase this by stating “The author thinks that
women are inferior to men.” In fact, the author is merely assessing the beliefs held by 
eighteenth century anatomical writers, and is not sharing his or her own opinion on the
subject. Read your sources with care, and be sure to identify correctly the agent or
speaker who is making claims or expressing opinions. Your choice of secondary source
material will have an impact on the nature of your investigation and the angle of your
argument. Consult your instructor if you have any questions about your sources.

What are Primary Sources?

Primary Sources are the direct evidence or first hand accounts of events without secondary
analysis or interpretation. A primary source is a work that was written or created at a time that is
contemporary or nearly contemporary with the period or subject being studied.
The definition of a primary source can change depending upon the academic discipline and the
context in which it is used - Humanities, Social Sciences and Sciences have unique types of
materials which qualify as primary sources.

What are Secondary Sources?

Secondary Sources analyze or interpret an historical event or artistic work. Secondary sources
often base their theories and arguments on the direct evidence found in primary sources. A
secondary work for a subject is one that discusses the subject but is written after the time
contemporary with it.

Prehispanic Source Materials for the Study of Philippine History.

By William Henry Scott. University of Santo Tomas Press,
Manila, 1968. Pp. x, 156. Preface, Map, Introduction,
Bibliography. Price: US$5.00.